More than a detailed history of a museum and tourist attraction, it examines the packaging of American history, and consumerism and the manufacturing of cultural beliefs. Through extensive fieldwork—including numerous site visits, interviews with employees and visitors, and archival research—Richard Handler and Eric Gable illustrate how corporate sensibility blends with pedagogical principle in Colonial Williamsburg to blur the lines between education and entertainment, patriotism and revisionism.During much of its existence, the "living museum" at Williamsburg has been considered a patriotic shrine, celebrating the upscale lifestyles of Virginia’s colonial-era elite. But in recent decades a new generation of social historians has injected a more populist and critical slant to the site’s narrative of nationhood. For example, in interactions with museum visitors, employees now relate stories about the experiences of African Americans and women, stories that several years ago did not enter into descriptions of life in Colonial Williamsburg. Handler and Gable focus on the way this public history is managed, as historians and administrators define historiographical policy and middle-level managers train and direct front-line staff to deliver this "product" to the public. They explore how visitors consume or modify what they hear and see, and reveal how interpreters and craftspeople resist or acquiesce in being managed. By deploying the voices of these various actors in a richly textured narrative, The New History in an Old Museum highlights the elements of cultural consensus that emerge from this cacophony of conflict and negotiation.

    It wasn’t addressed to anyone at all, but Ben knew it was for him. It would lead him to an old, shambolic museum, full of strange and bewitching creatures. A peculiar world of hidden mysteries and curious family secrets . . . and some really dangerous magic.Filled with her own wonderful illustrations, The Hippo at the End of the Hall is Helen Cooper's debut novel.

    These essays reveal objects as emotional and intellectual companions that anchor memory, sustain relationships, and provoke new ideas. These days, scholars show new interest in the importance of the concrete. This volume's special contribution is its focus on everyday riches: the simplest of objects--an apple, a datebook, a laptop computer--are shown to bring philosophy down to earth. The poet contends, "No ideas but in things." The notion of evocative objects goes further: objects carry both ideas and passions. In our relations to things, thought and feeling are inseparable.Whether it's a student's beloved 1964 Ford Falcon (left behind for a station wagon and motherhood), or a cello that inspires a meditation on fatherhood, the intimate objects in this collection are used to reflect on larger themes--the role of objects in design and play, discipline and desire, history and exchange, mourning and memory, transition and passage, meditation and new vision.In the interest of enriching these connections, Turkle pairs each autobiographical essay with a text from philosophy, history, literature, or theory, creating juxtapositions at once playful and profound. So we have Howard Gardner's keyboards and Lev Vygotsky's hobbyhorses; William Mitchell's Melbourne train and Roland Barthes' pleasures of text; Joseph Cevetello's glucometer and Donna Haraway's cyborgs. Each essay is framed by images that are themselves evocative. Essays by Turkle begin and end the collection, inviting us to look more closely at the everyday objects of our lives, the familiar objects that drive our routines, hold our affections, and open out our world in unexpected ways.

    There he sees his classmates, teachers, and family transformed into a menagerie of animals, from wild hyenas to stately peacocks. John Lithgow's exhilarating word play, inspired by Camille Saint-SaËns's 1886 composition, provides a narrative arc to the piece for the first time. Lithgow created the text for the New York City Ballet, where the Carnival of the Animals ballet, with his narration, debuted in 2003. Boris Kulikov's witty artistic interpretation of the story adds to the fun. A new recording of Saint-Saëns's suite, performed by Chamber Music Los Angeles under the direction of Bill Elliott, complete with John Lithgow's recitation of the text, is included on an enclosed CD.

    Not since Quasimodo has Paris been host to a monster of such charm. In typical exuberant style, Hobbs takes us abroad with the gentlemanly Mr Chicken, who tours the magnifique sights of Paris unaware that his enormous top-hatted self is the most astonishing spectacle of all. Joyously colourful, brilliantly observed, hilariously wry, Mr Chicken Goes to Paris is Leigh Hobbs' masterpiece.' Sonya Hartnett. Mr Chicken has taken up his friend Yvette's invitation to visit Paris. As they journey together through the City of Love, Mr Chicken is overcome by the magic of all the city has to offer - and the inhabitants of this most stylish city don't quite know what to make of him. Mr Chicken will delight children of all ages.

    Dust: The Archive and Cultural History considers our stubborn set of beliefs about an objective material world inherited from the nineteenth century with which modern history writing and its lack of such a belief, attempts to grapple. Drawing on her own published and unpublished writing, Carolyn Steedman has produced a sustained argument about the way in which history writing belongs to the currents of thought shaping the modern world.Steedman begins by asserting that in recent years much attention has been paid to the archive by those working in the humanities and social sciences; she calls this practice "archivization." By definition, the archive is the repository of "that which will not go away," and the book goes on to suggest that, just like dust, the "matter of history" can never go away or be erased.This unique work will be welcomed by all historians who want to think about what it is they do.

    As a result, he finds the inspiration to create his own masterpiece that’s one of a kind. Christopher Award–winning author Scott Menchin and New York Times bestselling illustrator Harry Bliss have teamed up for a celebration of the power of art and expression, and the extraordinary love between grandparent and child.

    She knows their names. She knows when they lived. And she certainly knows what they ate. So when she meets Linus, a towering, toothy T. rex who prefers picking vegetables to preying on his herbivorous neighbors, she’s not sure what to think. Is something wrong with Linus? Or does Ruth Ann maybe, just maybe, not know everything there is to know about dinosaurs? Dino lovers young and old will delight in this picture book chock-full of prehistoric personality—and don’t forget to search for the naughty velociraptor duo hidden throughout the book!

    One day she'd wear baseball gear to the symphony, the next, she'd be seen strolling down the street with zoo lions. It was no surprised that she was very particular about how she arranged her exhibits. They were not organized historically, stylistically, or by artist. Instead, they were arranged based on the connections Isabella felt toward the art, a connection she hoped to encourage in her visitors.For years, her museum delighted generations of Bostonians and visitors with the collections arranged exactly as she wanted. But in 1990, a spectacular burglary occurred when two thieves disguised as police officers stole thirteen paintings, valued at $500 million, including a Rembrandt and a Vermeer. They have yet to be recovered, though a $10 million reward is still being offered for their safe return.Author Candace Fleming perfectly captures Isabella's inimitable personality and drive, accompanied by exuberant illustrations by Matthew Cordell.A Junior Library Guild Gold Standard Selection

    Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

    It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century.Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle.Crary approaches these issues through multiple analyses of single works by three key modernist painters -- Manet, Seurat, and Cezanne -- who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices."Suspensions of Perception" decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception -- in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.

    You feel overworked and understaffed, with a budget smaller than your vision. Sometimes your ministry can feel like it has a revolving door, simultaneously bringing in new volunteers as current ones leave. The cycle of volunteer recruitment and turnover can be overwhelming, leading to frustration and distracting from the mission. In The Volunteer Project, we will introduce you to 4 Strategies that, when applied, will launch your church or nonprofit ministry into what we call a zero recruitment model of volunteerism. Formulated from the authors’ research, combined 50+ years of experience in leading volunteer teams, and the feedback of hundreds of volunteers, these 4 Strategies are designed to provide individuals with such satisfying volunteer experiences that they are motivated to continue volunteering, and even invite their friends to join them. Packed with comprehensive research, an online assessment tool for measuring volunteer satisfaction, and real-life stories, The Volunteer Project is designed to help you stop recruiting and start retaining.

    Authors Juliet Corbin and the late Anselm Strauss (co-creator of Grounded Theory) present methods that enable researchers to analyze and interpret their data, and ultimately build theory from it. Highly accessible in their approach, Corbin and Strauss provide a step-by-step guide to the research act--from the formation of the research question through several approaches to coding and analysis, to reporting on the research. Full of definitions and illustrative examples, this book concludes with chapters that present criteria for evaluating a study, as well as responses to common questions posed by students of qualitative research. Significantly revised, Basics of Qualitative Research remains a landmark volume in the study of qualitative methods. Key Features of the Third Edition:Allows for students to develop their critical thinking skills in the "Critical Issues" section at the end of each chapter.Shows the actual steps involved in data analysis (from description to grounded theory) and data gathering by means of theoretical sampling.Provides exercises for thinking, writing and group discussion that reinforces material presented in the text.

    He convinces his dad to buy a bird the man makes just for him.Once inside the museum, his little sister takes the bird and launches it into the air. Is it lost? Soon another boy helps him look, and the paper bird brings two families―and two new friends―together.With the style he used in Wolf in the Snow, Matthew Cordell shows how an ordinary family outing can be both extraordinary and magical.

    in color. The fuzzy Sesame Street puppet tours The Small Hall, The Carrot Room, and other unusual exhibits in a unique museum.